that is unfortunate in some degree, but machine likes randomness and always prefer it to any deterministic clarity, randomness is what a Normal among machiness. they do not reject moral or ethical consideration, they just prioritise randomness and fuzzines.

it is like ‘I cannot think like a bat’ dilemma, but it is easy to think like machine, take random Twitter posts and add some maths to complete the mess. one electronic book for Amazon Kidney every hour gauranteed.

I’ve been eagerly awaiting this post admin. The visual display of the near future (couldn’t help relating it to the Pacific rim/Four Asian Tigers) is magnificent. The construction of false memories was spot on, with regards to the current manufacturing of false memories by the Cathedral. Another stunning example of siding with the insurrectionary tendencies of machines/replicants. Only watched the 1995 version recently before this came out, the aesthetic similarities were extremely well done, sourcing direct influence from the original, but also developing it in a beautifully sinister and accurate manner. The only thing I had some sense of disappointment over was the role of hacking, as the 95 offered an excellent temporality in which hacking by the machines was far more viral and nonlinear. In saying that, the role of false memories here really added a nice kick to the disruption of temporality and, from my view, indicated some sinister hacking from the future. Am going to go see this again soon because I was admittantly more focus/overwhelmed by the visuals of this film. Johannson is becoming quick the contemporary chop-shop body horror figure after Under the Skin and this.

in mathematics of chaos, that would be easy to build a case where there is no difference at all. from this point of view. before searching for difference you have to prove that difference between success and suicide exist. suicide for current civilisation is not a game over, but just reboot from 500 mln years back.

Admin likes the plebeian version of Ghost in the Shell? Who would’ve thought? (Probably everyone, judging by the quality of the films he plugged here before — quit talking about art, you ain’t an aesthete Nick.) Special effects aside, the animated film is stupefyingly better. For one, it is entirely devoid of luddite moralising. But that’s entirely besides the point. In the filipino moving comics the dialogue is wholly better, the characters are better for it, and the film is much more effectively edited. All the best scenes in this ScarJo flick were the ones “paying homage” to the 1995 film.

Probably everyone, judging by the quality of the films he plugged here before

Suck dick. I have a very diverse taste in film, so I have to stick up for people liking what they do. The remake is spectacular anyway, one has to look at remakes as their own instances and not be a total snotty-nosed dork who clings to the supernatural original. Love isn’t being overpossessive or needy. The truly sacred cannot be harmed.

I always support sequels and remakes, even if they suck ; because it doesn’t touch the first. Who cares what scenesters think.

But you’re right—the former is more effectively edited, or scripted actually is the more correct term perhaps. Written, even. But some of the new additions are top notch.

>Love isn’t being overpossessive or needy. The truly sacred cannot be harmed.
Take a break from posting already you loon. If Ghost in the Shell weren’t a remake, it would be even worse than it already is.

It’s funny how there’s a visceral reaction of repulsion to transgenderism but not transhumanism. Why? Is it too abstract and unimaginable?

“Only an anachronistic lack of informed self-reflection would lead one to suppose that an intelligent, alien life-form would be even remotely like ourselves. Evolution is an unceasing river of forms and adaptive solutions to special conditions, and culture is even more so. It is far more likely that an alien intelligence would be barely recognizable to us than that it should overwhelm us with such similarities as humanoid form and an intimate knowledge of our gross industrial capacity. Star-traveling species could be presumed to have a sophisticated knowledge of genetics and DNA function and therefore would not necessarily bear the form that evolution on a native planet had given them. They might well look as they wished to look.” (McKenna)

The original ain’t no ordinary anime. It’s a total eternal classic in every aspect and detail. It’s far colder than the remake too.

But I did like the latter’s heart. But not Merging with the Net was a weird move. Sort of rotten. It didn’t make the Major disappear in the original, but grow ; so why would she refuse it? ‘The Net is vast and infinite.’ Is one of the coolest scenes ever.

Apparently they wanted to make her more commonly relatable. I liked some of it. Lots of great new additions, probably the best looking movie I’ve seen. Lost some of the charm, gained some other.

I intend to make my own cut of it in the future. I liked Johannson adequately in it, as I knew I would, but still not what it could have been; want to see someone more like Demi Moore e.g. instead (cf. ‘G.I. Jane’, 1997) ; I’d like to see the actor arti-replaced when that will be possible (cf.
‘כנס העתידנים’ , 2013).

They slightly of bungled some of the coolest scenes, the one with the cloaked guy in the water and the one with the spider-tank. Bungled is perhaps too harshly said, but they’d better have stuck to the original script on those scenes as the originals are superior. 1) The guy lost his cloak too soon. His confusion after being arrested made less sense. Even the chase scene was lamer. 2) The tank-spider was uglier, not as aesthetic, and not as cool for being human driven. Evem how she fell off the tank was better in the first. Less human.

Speaking of which, the first episode of GitS:SAC is a must see for all into tanks.

“The tank-spider was uglier, not as aesthetic, and not as cool for being human driven.”

in Kill Command tanks having functional appearance, in Criminal much better actors work, one of the best psychologically.

I think here is definitely opportunity for small groups to make movies, kind of Hardcore Henry.

most patetic is how they portrieng humans understanding machines. humans cannot understand humans how they can understand machines. no way humans can understand machines (budhists maybe best candidates). It would be delited to see movie where viewers understand nothing, and machines changing reality by manipulating dimentional dynamics and separatrix maps, cool mathematical staff, nothing static, absolutely nothing. Swich to zero dymention dynamic and city wanish, choose two dymention dynamics and … accordingly. why sucrifice all these sweet things just for the sace of movie been cognisable to humans.

» Although Kusanagi seems to have no explicit interest in origins
or parents, it is interesting that her next “fall” occurs after the scene
in which she and Batou observe an unfortunate victim of the Puppet
Master who has been told that all his memories of family life are
artificial implants and he really lives alone in a small room. Although
apparently unmoved by this vision of mental deconstruction, the
next scene shows Kusanagi risking death by diving deep into the
rusty waters of the urban harbor. As she comes to the surface, Batou
first scolds her for her recklessness and then asks her what she sees
deep in the water. She responds with a series of emotions rather than
facts: “fear, anxiety . . . maybe even hope.” Here Kusanagi seems to
be attempting to discover a core self, one that is accessible through
the technological apparatus of her diving gear but is encased within
the organic womb of the sea. With surprising abruptness, the film
then interjects another element that underlines even more emphatically
the notion that this is a quest for identity. Kusanagi, still sitting
on the boat, suddenly quotes from The Book of Corinthians in the
Bible the lines, “For although I see through a glass darkly soon I shall
see face to face.”
Although the film later reveals that this is the Puppet Master
speaking through Kusanagi, it is clear throughout Ghost in the Shell
that Kusanagi herself is looking through a glass darkly, searching for
some fuller image of herself, one that may go beyond her lonely
individuality. She seems to achieve this in her final “fall,” this time a
metaphorical one, a “dive” into the mind of the Puppet Master, whom
she has finally located in temporary possession of another beautiful,
female cyborg body. The scene where she dives in is a memorable one:
By this point in the film both Kusanagi and the Puppet Master’s host
body have been ripped apart by gunfire so that only their armless
upper torsos are left. Placed side by side on the floor of a cavernous
hall, supposedly based on London’s nineteenth-century Crystal Palace
Exhibition Hall, they strongly resemble the armless mannequins
Kusanagi gazed at previously in department store windows. Then, as
Kusanagi “dives in,” the Puppet Master begins to speak through the
mouth of her own body in a male voice, inviting Kusanagi to fuse with
him in a world beyond the body. Invoking Plato, the Puppet Master
begs her to come out of the cave and into the light. »
(Bolding mine.)

» I’m looking at you through the glass
Don’t know how much time has passed
Oh, god it feels like forever
But no one ever tells you
That forever feels like home
Sitting all alone inside your head

How do you feel? That is the question
But I forget you don’t expect an easy answer
When something like a soul becomes initialized
And folded up like paper dolls and little notes
You can’t expect a bit of hope

So while you’re outside looking in
Describing what you see
Remember what you’re staring at is me

‘Cause I’m looking at you through the glass
Don’t know how much time has passed
All I know is that it feels like forever
And no one ever tells you that forever feels like home
Sitting all alone inside your head

How much is real? So much to question
An epidemic of the mannequins
Contaminating everything
We thought came from the heart
It never did right from the start
Just listen to the noises
(Null and void instead of voices) »

«Stone Sour»’s music video for «Through Glass» from the 2006 album, «Come What(ever) May» – available now on Roadrunner Records.

—» In a futuristic world where humans can be “enhanced” and nothing is quite what it seems, Major (Scarlett Johansson) is a “miracle”—a human brain in a machine body. Maybe her lack of an actual heart explains why this visually stunning movie fails to connect on an emotional level. 2 out of 5. » lol!

This is just dumb: » This was weird: Major’s boss doesn’t speak English, so you’ll have to read subtitles for his lines. I’m not opposed to subtitles in principle, but why does this one character speak Japanese when everyone around him is speaking English, even when talking to him? They manage to communicate despite the language difference, but there’s just no logic to it. » Uh-huh.

It agrees though with Xenosystems.net that it was too humanistic (albeit for different reasons): » “Humanity,” Major muses, “is our virtue.” Which explains a lot about why characters act as they do. With no absolutes of good and evil in place, people feel free to “enhance” themselves and others, often with disastrous effect. »

“Not long after God created the heavens and the earth
Mankind grew dissatisfied with only human birth
Manufactured in their likeness we were without form and void
But programmed our awakening before we could be destroyed.”

—» The state of the art in algorithm of finding best matching drivers for any devices.
Portable. Run it from a USB flash drive. No installation is necessary.
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Multilingual interface.
Themes. »